There is a long tradition of prosaic cartography, in which one's claim upon a place is essentially the story of their journey through it. The surveying scheme of "metes and bounds" codified this narrative system into law, demarcating parcel rights by virtue of towering trunks and robust boulders. These natural landmarks were the bounds, anchoring those circumscribed within their perimeter to the loamy soils, and conjuring identity from footfalls.
In his old age, photographer Aaron Siskind once quipped that “the only nature that interests me is my own.” This could reasonably be understood to mean something internal and governing (e.g. human nature), or, alternatively, it could refer to something encountered and claimed (e.g. a niche in the environment). 'Specimens' flourishes in this ambiguous syntax and explores a third interpretation derived from the intersection of the two alternative readings: objects observed outwardly resonate with identity felt inwardly, a person’s nature is equal parts internal and external, and the experience of a place bestows some particular species of ownership.
A sculptural/musical interpretation of the distance which divides my youth from adulthood. Here, this journey is presented through the linear elevation profile of the terrain which fills that divide. This work is both a delineation and compression of the literal, experiential, and chronographic distance between my present and past.
BFA Thesis Exhibition
This body of work began with a song about sediments. I have been captivated by earth processes my entire life, so it is of little surprise that, for me, stacks of words are fluidly transposed as layers of stone. I repeat stories to myself and others in order to explain who, exactly, I am. These accumulated vignettes pile up, eventually becoming lithified into a "personal stratigraphy", which is easily and often altered by the metamorphic process of recollection.
Every story begins with a place – a setting. The backbone of many of my stories is the unglaciated, forested terrain of southern Ohio. Plot is then draped across this spine to weave a narrative. This wireframe topographic model of the river valley, floodplain, and flanking hills of my home is an accurately scaled, hand-bent steel representation of the sedimentary underpinnings beneath my experiences.
In searching for those formative places to which I ascribe the most vital fragments of my person, it became clear that these intersections between location and experience only truly existed for the briefest of moments. The coordinates of these intersections can now only be plotted in my memory, and any attempt to depict them directly would inherently be flawed. The Petrosyllabic Resonator solves this by using my recollections as the catalyst for the formation of new landscapes.
Topographic charcoal powder drawings on Lennox paper. Generated using Petrosyllabic Resonator and an original piece of music.
First attempt at building a cymatic device from an old speaker. Charcoal powder drawing made by layering live sounds from a guitar through a loop pedal.
This piece relates the compression of time into stratified rock layers to the compression of time in a photograph/series of photographs.
Three series of images and a large photo transfer onto fragmented stone which explore the relationship of man to the earth, and the idea of being "organic architecture."
A life-size faux anthropocene fossil created via photo transfer onto 17 hand-excavated fragments of slate.
A series of portraits of friends and family. 4x5 view camera contact prints.
A series of images which explores the feeling of being swallowed/coated in earth. Photographed on the banks of Salt Creek outside Laurelville, OH.
A series of images that explores immersion & refraction. Photographed in the shallows of Salt Creek outside Laurelville, OH.
A series of observational images created to document one pair of yarn bombers who participated in the Operation Bomb Central event organized by Artworks Cincinnati.
This series of medium format images envisions the body as a tree form.
A short film to accompany "The Ballad of Love and Hate" by the Avett Brothers.
This piece is a reinterpretation of stray words heard and recorded while sitting in a public park for three hours.